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Zombie Culture at Southwest Popular/American Culture Association Conference
41st Annual Conference, February 19-22, 2020

Deadline: October 31, 2019
Organization: Brandon Kempner / Southwest Popular/American Culture Association Conference

Proposals for papers and panels are now being accepted for the 41st annual SWPACA conference.  One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. 

The area chair for Zombie Culture seeks papers and presentations on any aspect of the zombie in popular culture and history. It seems as though the world has gone “zombie crazy.” There are zombie walks, games on college campuses like “Humans Vs. Zombies,” zombie children’s books, zombie poetry, fiction, video games, zombie ammunition and guns, and zombie running contests. Almost anything can be “zombified” and society and fans all over the world are literally “eating it up.” The zombie has come to represent the chaotic world we live in, and courses continue to pop up on college and university campuses all over the world. This is due in large part to the success of films like Night of the Living Dead, Zombi 2, Dawn of the Dead, 28 Days Later, Shaun of the Dead, Warm Bodies, World War Z and television programs like The Walking Dead, iZombie, Z Nation, and Fear the Walking Dead.

What is distinctively American about zombies in film, literature, and popular culture in general? How does the zombie influence American culture in a way that resonates in our transmedia world?

Some topics to consider:

2019 zombie works: The end of The Walking Dead Comic, Zombieland 2, Kingdom, The Dead Don’t Die. What keeps zombies going strong after all this time?
Directors: George Romero, Lucio Fulci, Umberto Lenzi, Todd Sheets, Danny Boyle, Sam Rami, Peter Jackson, Amando de Ossorio…
Specific zombie films: White Zombie, King of the Zombies, Dawn of the Dead, Tombs of the Blind Dead, Dead Alive, Evil Dead, World War Z, Train to Busan…
Specific books/zombie literature: The Zombie Survival Guide, Zone One, The Girl with all the Gifts, the Newsfleshtrilogy, The Reapers are the Angels, Cell…
Zombie writers’ fiction and non-fiction: Stephen Graham Jones, H.P. Lovecraft, Robert Kirkman, Steve Niles, Max Brooks, Matt Mogk, Jovanka Vuckovic, Stephen King…
Zombie television: The Walking Dead, Fear the Walking Dead, Z Nation, iZombie, The Santa Clarita Diet…
Zombie video games: Resident Evil, Call of Duty: Zombies, The Last of Us, Day Z, Dead Rising…
Zombie comics (any aspect: history, cultural impact, storytelling, Marvel zombies…)
What does the rise in the zombie’s popularity tell us about society?
All proposals must be submitted through the conference’s database at


For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at

Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. Including a brief bio in the body of the proposal form is encouraged, but not required. 


For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.   

The deadline for submissions is October 31, 2019. 


SWPACA offers monetary awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2020.  For more information, visit

Registration and travel information for the conference is available at


In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at

We look forward to receiving your submissions! If you have any questions about the Zombie Culture area, please contact its Area Chair, Dr. Brandon Kempner, at
Global Horror: Local Perspectives

Deadline: November 8, 2019
Organization: Progressive Connexions

Horror pervades human experience. It affects us both as individuals and as members of social communities, it is recurrent in pop culture and arguably present in all fields of human knowledge and realms of storytelling, from Cronus eating his own children, to Freddy Krueger’s sadistic murders in A Nightmare on Elm Street to media coverage of war. As a fundamentally paradoxical concept, horror simultaneously repels and fascinates us: we naturally dread it, yet we are drawn to it. We are taught to avoid that which is horrifying, but the appeal of horror, whether in the form of fiction or sensational news, is irresistible. Indeed, we simultaneously narrate, describe, imagine, consume, dread and crave horror in all of its dimensions, and with the most varied goals.

Horror taps into primal emotions of fear and disgust that are universal to the human condition, and finds expression across cultures and historical periods. Yet the texts that shape the ways in which horror is broadly understood historically reflect predominantly Anglo-European and American cultural, social, historical and geographical contexts.

Growing awareness and appreciation of the rich horror traditions of other countries around the world, including Japan, Korean, India, Brazil and Ecuador, has highlighted the importance of considering horror in a globalcontext. Accordingly, the Global Horror: Local Perspectives Project provides a platform for exploring the ways in which horror motifs and themes are expressed through the ‘local perspectives’ that inform the creative practices and daily life of particular nations and cultures.

It is not the intent of the Project to exclude Anglo-European and American perspectives from the conversation of global horror but rather to centre other horror traditions which have frequently been de-centred or completely overlooked in the past. The scope of the Project therefore includes work that explores marginalised local perspectives within Anglo-European and American horror, and work that examines Anglo-European and American horror from a global perspective with a view to forming an innovative interdisciplinary publication to engender further research and collaboration.

Key Topics
Horror manifests itself in myriad ways, with ramifications that transcend the lines that demarcate disciplines, subjects and professions. It is only through interdisciplinary engagement that we can develop a more complete understanding of the mechanisms that nations and cultures around the world use to express, process, and cope with horror. The conference therefore offers a springboard for participants from diverse professions, practices and walks of life to engage in interdisciplinary dialogues on topics that include:

~ Case studies of un(der)-represented horror traditions in nations and cultures
~ How the history, religion, cultural norms of a nation/culture influence local perceptions and representations of horror in literature, film, television, music, art and videogames
~ Impact of digital technology on creating and disseminating local perspectives on horror
~ How globalisation as a cultural and economic force influences ‘local perspectives’ on horror
~ Creative practitioners whose work shapes local perspectives on horror
~ Dark humour and making fun of global horror
~ Connections between horror in everyday life and fictional horror
~ Impact of real or fictional global horrors on individuals (mental illness, trauma, nightmares, other physiological symptoms)
~ Horror in religious/spiritual systems (martyrdom, grotesque/monstrous deities, rituals, etc.)
~ Social practices associated to horror: cannibalism, (self-)mutilation, abusive rites of passage, suicide, heresies
~ Horror in nation-building (slavery, war, genocide, etc.)
~ Medical/clinical perspectives: interfaces of horror and medicine; dealing with patients struggling to cope with horrifying experiences
~ Educational perspectives: how the curriculum shapes perceptions of horror, its uses and its impacts; horror in children’s stories/horror as pedagogical tool, etc.
~ Commodifying horror: dark tourism, etc.
~ Technology as agent of horror (weapons, dissemination of fear, etc.)
~ How national and international law facilitate and mitigate horror
~ Activism as response to horror
~ Horror and the media: news coverage, sensationalism
~ Horror and space: streets, cities, towns, buildings, deserted areas
~ The design of horror: images, branding, advertisement, commercial campaigns involving horror
~ Urban legends and local horrors
~ Best practice for researching and studying global horror
~ Interdisciplinarity as a tool to overcome the indescribability of horror

What To Send

The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a’s, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged. Please feel free to put forward proposals that you think will get the message across, in whatever form.

At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops and publications which will help us make sense of the topics discussed during the meeting.

300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 8th November 2019. Other forms of participation should be discussed in advance with the Organising Chairs.

All submissions will be at least double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Team, The Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.

You will be notified of the panel’s decision by Friday 22nd November 2019.

If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 21st February 2020.

Abstracts and proposals may be in Word, RTF or Notepad formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) type of proposal e.g. paper presentation, workshop, panel, film, performance, etc, f) body of proposal, g) up to 10 keywords.

E-mails should be entitled: Global Horror Submission

Where To Send

Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:

Claudio Zanini:
Len Capuli (Project Administrator):

What’s so Special About a Progressive Connexions Event?
A fresh, friendly, dynamic format – at Progressive Connexions we are dedicated to breaking away from the stuffy, old-fashion conference formats, where endless presentations are read aloud off PowerPoints. We work to bring you an interactive format, where exchange of experience and information is alternated with captivating workshops, engaging debates and round tables, time set aside for getting to know each other and for discussing common future projects and initiatives, all in a warm, relaxed, egalitarian atmosphere.

A chance to network with international professionals – the beauty of our interdisciplinary events is that they bring together professionals from all over the world and from various fields of activity, all joined together by a shared passion. Not only will the exchange of experience, knowledge and stories be extremely valuable in itself, but we seek to create lasting, ever-growing communities around our projects, which will become a valuable resource for those belonging to them.

A chance to be part of constructing change – There is only one thing we love as much as promoting knowledge: promoting real, lasting social change by encouraging our participants to take collective action, under whichever form is most suited to their needs and expertise (policy proposals, measuring instruments, research projects, educational materials, etc.) We will support all such actions in the aftermath of the event as well, providing a platform for further discussions, advice from the experts on our Project Advisory Team and various other tools and intellectual resources, as needed.

An opportunity to discuss things that matter to you – Our events are not only about discussing how things work in the respective field, but also about how people work in that field – what are the struggles, problems and solutions professionals have found in their line of work, what are the areas where better communication among specialists is needed and how the interdisciplinary approach can help bridge those gaps and help provide answers to questions from specific areas of activity.

An unforgettable experience – When participating in a Progressive Connexions event, there is a good chance you will make some long-time friends. Our group sizes are intimate, our venues are comfortable and relaxing and our event locations are suited to the history and culture of the event.

Progressive Connexions believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract or proposal for presentation.

Please note: Progressive Connexions is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence, nor can we offer discounts off published rates and fees.

Please send all enquiries to the project email address:

For further details and information please visit the conference web page:

Sponsored by: Progressive Connexions
Archived - Calls for Presentations / Panel - Gothic Girlhood - Deadline: 2019-09-30
« Last post by nicholasdiak on September 11, 2019, 04:55:34 PM »
Gothic Girlhood: Intersecting Identities Across Gothic Traditions

deadline for submissions: September 30, 2019
organization: Northeast Modern Language Association (NeMLA)
contact email:

Diana Wallace and Andrew Smith note that the Female Gothic has been an ever-shifting category since its introduction into literary vocabulary by Ellen Moers in 1976, asserting that the Female Gothic “is shaped by...national identity, sexuality, language, race, and history” (The Female Gothic, 10). Gothic scholarship has long demonstrated that the mode varies across national and continental borders particularly drawing out distinctions between the American and the British. However, less attention has been paid to the concept of age. Keeping in mind the conference theme, how does the space of girlhood and/or adolescence complicate or further our understanding of the Female Gothic? In other words, how does examining the intersection of girlhood along with national, racial, and/or cultural identifiers change our conception of what the Female Gothic does? For the purposes of our panel, we aim to use a capacious definition of the Female Gothic and discuss texts that might not otherwise be considered Gothic. While works like Daphne Du Maurier's Rebecca (1938) or Joyce Carol Oates's Bellefleur (1980) contain clear connections to traditional Gothic elements like female madness and the ancestral manor, other works that are not typically placed within the modern Gothic canon, such as Paule Marshall’s Brown Girl, Brownstones (1959) or Jeffrey Eugenides's The Virgin Suicides (1993), engage with questions of girlhood and the Gothic tradition in innovative and compelling ways. This panel invites papers that interrogate Gothic depictions of girlhood and female adolescence in 20 and 21st century American or British/Anglophone literature (including, but not limited to, fiction, film, drama, and video games). In particular, we seek papers that work towards an understanding of intersectional identities within the Gothic while paying particular attention to girlhood and female adolescence.

All proposals must be submitted through the NeMLA portal (see link below) by September 30, 2019 and should be no more than 300 words.


Please direct inquiries to Margaret Frymire Kelly (
Call for Papers

Seeking paper abstracts for an upcoming Hannibal Lecter-themed literary journal published by Horror Scholar, to be available online in the first quarter of 2020. This opportunity is paid. Abstracts should be ~300 words briefly describing the scope and topic of your paper. Paper must be academic/critical commentary on any existing canon with the character Hannibal Lecter, listed below:

Thomas Harris Novels - Red Dragon, The Silence of the Lambs, Hannibal, Hannibal Rising
Film Adaptations - Manhunter, The Silence of the Lambs, Hannibal, Red Dragon, Hannibal Rising,
TV Adaptations - Hannibal
Stage Productions - Silence! The musical

Papers must be anywhere from 1,000 - 3,000 words. Not accepting reviews. Proposals and Papers should be submitted in Word format, in a readable size 12 font.

Cut off date for sending abstracts: Oct 10
Cut off date for sending finished papers: Jan 10

Steps for Application

1 - submit abstract via email to along with your name, 3 sentence bio and social media links
2 - Once the proposal is accepted (1 week turnaround), a finished paper can be submitted any time until the cut off date above
3 - Payment will be sent upon reception of the finished paper

Curious about us? Check out our first edition of our journal at:

Copied from:

Monsters: interdisciplinary explorations of monstrosity

Editors: Dr Sibylle Erle (Reader in English Literature), Dr Pat Beckley (Senior Lecturer in the School of Teacher Development) and Dr Helen Hendry (Senior Lecturer in Education Studies, Bishop Grosseteste University, Lincoln, UK)

There is a continued fascination with all things monsters, which is partly due to the critical and popular reception of Mary Shelley’s creature termed a “new species” by its ambitious and over-reading creator. Frankenstein regards himself a scientist, but his creature’s existence is bodged from the start. The aim of this ‘Monsters’ collection of articles is therefore to examine the legacy of Shelley’s novel as well as the different incarnations of monsters in contemporary research and teaching contexts. Attempting to explain the appeal of Shelley’s story, this collection offers a unique opportunity to promote dialogue between the social sciences and the humanities.

The title of this collection is deliberately left ambiguous to allow for an interdisciplinary exploration of ‘monstrosity’ and ‘the monstrous’. These concepts apply, in the first instance, to social and cultural threats — that is, to behaviours or (visual) qualities, which are deemed unacceptable because they are perceived as either amoral or unimaginable. The afterlife and reception of Frankenstein not only brings many opportunities for academic research to intersect with popular culture, but also brings into focus the pertinent theoretical and methodological challenges relating to how ‘monstrosity’ and ‘the monstrous’ get taught at universities and at schools.

Against the backdrop, we invite papers that explore the concepts of monsters, monstrosity and the monstrous. Contributions are welcomed on, but are not restricted to, the following themes:

Gothic studies;
Reception studies (the afterlife of Frankenstein);
Monsters’ as a metaphor (monstrosity, the monstrous);
Monsters in literature written for children and/or young adults;
Monsters in visual culture and performance art;
Horror movies for adults and/or for children and/or young adults;
The post-human, technology and robot-human interactions;
Disability studies;
Monsters’ in teaching contexts;
Popular culture.
Research is invited from the humanities (literature, drama, art, history) and the social sciences (education and teacher training studies, psychology, counselling studies), as well as interdisciplinary scholarship.

This is a rolling article collection and as such submissions will be welcomed at any point up until the end of November 2019. To register interest prospective authors should submit a short article proposal (abstract summary) to the Editorial Office ( in the first instance.

Additional submission guidelines can be found here:
Copied from:

Studies in Horror and the Gothic

Editor: Dr John Edgar Browning (Georgia Institute of Technology, USA).

‘Studies in Horror and the Gothic’ is by necessity of its pervasive, aesthetic nature a broad and all-encapsulating thematic collection, one that will engage the study of horror and the Gothic through literature, film, television, new media, and electronic gaming. We are here interested in the dark, the forbidden, the secret. But fundamentally all our submissions should ask, and strive to address (or redress) on their own terms, what is “horror” and what is the “Gothic,” employing in the process individual or multiple methods of theoretical inquiry and myriad disciplinary or interdisciplinary approaches from across the humanities, social sciences, and beyond. This thematic collection concerns itself with the business of exhuming, from the dark recesses of human experience, any number of cultural products from any historical moment or geography that might prove useful in uncovering some of horror’s and the Gothic’s more fascinating junctures and deeper meanings. Submissions should be scholarly but remain accessible to the advanced student or knowledgeable general reader interested in the subject.

Contributions on the following themes are especially encouraged:

Theories of horror and monstrosity;
Horror, the Gothic, and pedagogy;
National Gothic(s) and horrors;
Female Gothic/horror histories;
Specialised themes in horror and the Gothic (law, sexuality, disability, etc);
Ethnographic approaches to horror and the Gothic;
Horror by the decade;
Lost Gothics;
Post-millennial horrors and Gothic(s).

Collection Advisory Board: Jeffrey Andrew Weinstock (Central Michigan University, USA), Carol Margaret Davison (University of Windsor, Canada), Harry M. Benshoff (University of North Texas, USA), Dylan Trigg (University of Memphis, USA and University College Dublin, Ireland), Maisha L Wester (Indiana University, USA), and Jesse Stommel (University of Mary Washington, USA).

Read Dr John Edgar Browning's paper 'The real vampires of New Orleans and Buffalo: a research note towards comparative ethnography'.

This is a rolling collection and as such submissions/proposals will be welcome up until the end of 2019.

Archived - Calls for Papers / Serial Killers on Screen - Deadline: 2019-12-01
« Last post by nicholasdiak on August 04, 2019, 09:19:52 AM »
Serial Killers on Screen

Deadline for submissions: December 1, 2019
full name / name of organization: Claire O'Callaghan/Sarah Fanning (Loughborough University/Mount Allison University)
contact email:

In recent years, the media has abounded with stories of serial killers. Esquiremagazine notes that 2019 has been a particularly ‘bumper year for [Ted] Bundy’, but numerous other news stories have maintained our perennial fascination with serial murderers.Indeed, the death of Charles Manson (2017), the 2018 arrest and subsequent identification of Joseph James DeAngelo (known as the ‘original night stalker’ and, latterly, the Golden State Killer), and multiple anniversaries, including the Tate-LaBianca murders (50th) and Ted Bundy’s death (30th), have all kept serial killers at the forefront of the public imagination.

Unsurprisingly, production companies from both the big and small screen have capitalised on – and contributed to – this surge of serial killer media. While documentaries such as the BBC’s The Yorkshire Ripper Files: A Very British Crime Story(2019)and Jack the Ripper – The Case Reopened (2019) have revisited high-profile cases with fresh questions, fictionalised biopics and adaptations continue to offer an alternative approach to these harrowing stories. From Netflix’s Mindhunter (2017 –), Joe Berlinger’s Bundy biopic Extremely Wicked, Shockingly Evil, and Vile(2019), to Quentin Tarantino’s Once Upon a Time in Hollywood (2019) and Netflix’s Lost Girls (release TBA), it seems there is a conspicuous interest in seeing this figure mediated on screen. And this current phenomenon builds on the fact that some of the silver screen’s most critically-acclaimed and popular films have been based on real-life serial murderers, including, for instance, Patty Jenkin’s academy award-winning biopic, Monster(2003) based on Aileen Wuornos, and David Fincher’s Zodiac(2007), the media name given to the unidentified killer who haunted North California in the late 1960s.


Professor of Criminology David Wilson explains that one reason why the public ‘might follow a serial killer’ is ‘because they are complex puzzles that they want to figure out’, but Wilson also suggests that this ever-growing appetite is ‘driven by co-activation and the titillation of getting close to something frightening with the knowledge you won’t come to any harm.’ [ii]


Using Wilson’s comments as a starting point, we solicit contributions to an edited collection focused on the representation of the real-life serial killer as portrayed onscreen in biopics, documentaries, television series, and films. While there is plenty of media discussion about the proliferation of serial killer narratives in popular culture, scholarly study of their representation onscreen remains largely overlooked. This collection, therefore, is interested in unravelling the politics at play in adapting and screening the stories of real-life serial murderers. We pose the following questions:


  • How are real-life serial killers fictionalised onscreen?
  • How are the horrific crimes and the traumatic legacies left by serial murderers negotiated for public audiences?
  • What are the ethical issues at stake (social/cultural and/or historical) in the making of such productions, and what ethical dilemmas does the screening of serial killers’ crimes generate?
  • What are the cultural effects (individually and collectively) produced by serial killer narratives on screen?
And can films, documentaries, biopics and television dramas about serial killers generate valuable cross-disciplinary insights into this criminological phenomenon? [/li]

Accordingly, we welcome proposed chapters that investigate, but are not limited to, topics including:

  • Any aspect of the portrayal of serial killer(s) in biopics, documentaries, television drama, and film
  • Glamorisation / romanticisation of the serial killer
  • Serial killer myths/mythologies as perpetuated onscreen
  • The portrayal (and perspective) of victims and survivors
  • Screening serial murder and the representation of violence
  • The representation of misogyny, homophobia, ageism and other vulnerable (victim) groups in serial killer narratives
  • Theories of performance and embodiment
  • Serial killers and the representation of the body
  • Issues of gender, sexuality, race, disability, class, and nation
  • Serial killers and screen genre(s)
  • The concept of ‘murder porn’
  • Screening psychopathy and sociopathy
  • The figure of the detective / criminal profiler in relation to serial murder
  • The criminal body
  • Media ethics and the representation of the serial killers

We are interested in cohering a range of diverse perspectives and theoretical approaches to this subject, including feminist, psychoanalysis, criminology, film/TV, cultural studies, and biographical.


This volume will be submitted to Palgrave Macmillan’s series on Crime, Media and Culture ( who have expressed an interest in the collection.


Please send a 500-word abstract (for 8000 word chapters) and brief bio to the editors, Dr Claire O’Callaghan (Loughborough University, U.K.) and Dr Sarah Fanning (Mount Allison University, Canada) by 1stDecember 2019at and

Note: This is a copy/paste from:

Call For Papers
Bloody Women! Women Directors of Horror
Collection Editors: Victoria McCollum (Ulster University, Derry) and Aislinn Clarke (Queen’s University, Belfast)

Deadline for Abstracts: 9th of September 2019
Deadline for Chapters: 1st of April 2020 (6,000 words)
Contact: and
Publisher: Rowman & Littlefield
Series: Critical Conversations in Horror Studies

Summary: Bloody Women! Women Directors of Horror is the first book-length exploration of female creators at the cutting edge of contemporary horror, turning out some of its most inspired and twisted offerings. Whilst Final Girls are prominent in horror films, behind the camera is a different story. Back in 2007, in response to a plethora of poorly-made misogynistic horror films trending at Box Office, horror scholar Barbara Creed called for “more thoughtful horror films that speak directly to female experiences.” In response, Guardian journalist Emine Saner countered, “there just aren’t enough female directors in any genre, but especially in horror.”

In the decade since that article was published, we’ve seen an explosion of women-helmed horror hybrids such as: the bitingly smart, subversive ‘hormonal horror’ film Jennifer’s Body (Karyn Kusama, 2009); deliciously twisted American Mary (Jen and Sylvia Soska, 2013); low-key, hair-raising newlywed nightmare Honeymoon (Leigh Janiak, 2014); ingeniously constructed found-footage occult horror film The Devil’s Doorway (Aislinn Clarke, 2018); and gruesome French cannibal flick Raw (Julia Ducournau, 2016), which infamously left audience members seeking medical attention at the Toronto International Film Festival. A new wave of horror films helmed by women have helped intensify the genre by opening it up to stories that unsettle audiences in new and unique ways. At Sundance Film Festival, Jovanka Vuckovica, one of the makers of XX (2017), a female-helmed horror anthology, described the project as a “historic moment […] created in direct response to the lack of opportunities for women in film, particularly in the horror genre,” which, she argues, was “badly in need of new perspectives.”

In the years that followed, Rolling Stone would herald “the rise of the modern female horror film-maker,” whilst Jason Blum, founder of Blumhouse Productions (an increasingly central player in horror production) would claim to know not a single woman willing to direct a theatrical release. According to Blum “there are not a lot of female directors period, and even less who are inclined to do horror.” Hordes of rightfully disgruntled horror fans took to Twitter to correct Blum, who apologised later that day, stating, “today was a great day for me because I learned a lot and because there are a lot of women out there that I’m going to meet as a result of today so I’m grateful for it.” Ironically, Blum’s statement came at the premiere of Halloween (2018), which he produced, a film about three generations of kick-ass women and the ways male cruelty can make good women ‘bad’.

Taking a theoretical, historical and critical approach to horror directed by women, this volume considers how the gender landscape of horror filmmaking is changing. It unearths the long and rich history of female-fronted horror films that predate the better-known The Babadook (Jennifer Kent, 2016). It explores whether the genre provides a perennial springboard for rising stars behind the camera and if the malleability of horror makes it a genre of choice for visionary film-makers eager to stretch their wings. Is there a way in which female-helmed horror films are distinct from male-led projects or do the unique experiences of womanhood of different directors lead them to create unique work? In what ways is women-helmed horror responding, as Vuckovica suggests, to the industry’s stark diversity problem and other cruel external forces? Are there defining qualities and characteristics that can be attributed to the horror of women directors and how are such unique voices shaping horror and influencing the industry? Women directors of horror are becoming increasingly more difficult to ignore. As Canadian horror filmmaker Jen Soska cautions, “A revolution has started.”

Some Inspiration:

  • Explorations of prolific horror auteurs: i.e. Karyn Kusama; The Soska Sisters, etc.
  • Earlier horror works, especially 1980s: i.e. Mary Lambert; Mary Harron; Claire Denis, Ida Lupino and Stephanie Rothman, etc.
  • Sinister, smart and wildly feminist horror: i.e. A Girl Walks Home Alone At Night; Carrie
  • Analysis of particular themes, qualities and characteristics: i.e. grief and transformation (Prevenge, The Babadook); cannibalism (Raw, Trouble Every Day); coming-of-age (Jennifer’s Body, Carrie)
  • Comparative analysis of how women directors of horror, and male directors of horror, treat particular themes: Does the female experience provide a distinct slant on things? I.e. Kimberly Peirce’s Carrie was read by critics as more empathetic than De Palma’s original.
  • Aesthetics of Horror: i.e. Ana Lily Amirpour; Aislinn Clarke; Jenn Wexler; Anna Biller
  • Queer Horror: i.e. Kimberly Peirce (Carrie); Slumber Party Massacre
  • New French ‘Extremity’: i.e. Coralie Fargeat (Revenge); Julia Ducournau (Raw)
  • Black horror directors: i.e. Nuzo Onoh (The Reluctant Dead); Graveyard Shift Sisters
  • Latin American horror directors: Issa Lopez (Tigers Are Not Afraid); Gigi Saul Guerrero
  • Horror anthology segments: i.e. Jovanka Vuckovic;  Roxanne Benjamin (outspoken about their desire to work on studio projects); Roxanne Benjamin; Axelle Carolyn; Jodie Foster
  • Industry case studies: i.e. Blumhouse’s first female director and controversy
  • Career mobility case studies: i.e. Rachel Talalay, from assistant production manager on A Nightmare on Elm Street to director of Freddy’s Dead: The Final Nightmare
  • Directorial debuts: Aislinn Clarke; Roxanne Benjamin; Jovanka Vuckovic; Axelle Carolyn; and the struggle to cultivate more films (hampered visibility and ascendancy)
  • Horror Screenwriters: Diablo Cody; Aislinn Clarke; Barbara Marshall; Staci Layne Wilson
  • Horror shorts i.e. Gigi Saul Guerrero: the Mexican co-founder of Luchagore Productions, who has made a dozen of gory, grindhouse-inspired short films; Jill Gevargizian, the Kansas City hairstylist who directs independent horror shorts, as well as running the long-running indie-horror showcase Slaughter Movie House; Izzy Lee; Jennifer Trudrung
  • Women-Led and Women-Centric Horror Film Festivals: Women in Horror Film Festival; Sick Chick Flicks Film Festival; Etheria Film Night; The Bloody Mary Film Festival; Stranger With My Face; The Final Girls Berlin Film Festival and Scream Queen Filmfest

Submission Guidelines: abstracts (200 words or less, with a 50-word biography) due 9/9/19. Notifications made by end of September. Accepted and completed papers (6000) words, references included, due: 1st of April 2020. Please send abstracts to the editors at: and
Calls for Papers/Publications / [On Going] Penumbra
« Last post by nicholasdiak on July 18, 2019, 04:01:26 PM »

Deadline: 2020-05-31 (for inaugural issue)

Penumbra is an annual journal edited by weird fiction scholar S. T. Joshi and published through Hippocampus Press. About 75% of its content will consist of articles (scholarly or otherwise) on all aspects of weird fiction; the other 25% will be original fiction. The journal will in all likelihood be indexed in the MLA [Modern Language Association] Bibliography and will consist of up to 100,000 words.

Deadline for the first issue of the journal is May 31, 2020. Submissions can be sent to S. T. Joshi at
The Fourth Annual Ann Radcliffe Academic Conference at StokerCon UK
Abstract Submission Deadline: October 31, 2019

Conference Dates: April 16-19, 2020
Conference Hotel: The Royal and The Grand Hotels, Scarborough, UK
Conference Website:

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars, academics, and non-fiction writers to submit presentation abstracts related to horror studies for consideration to be presented at the fifth annual StokerCon which will be held April 16 – 19, 2019 in Scarborough, UK.

The Ann Radcliffe Academic Conference is an opportunity for individuals to present on completed research or work-in-progress horror studies projects that continue the dialogue of academic analysis of the horror genre.  As in prior years, we are looking for completed research or work-in-progress projects that can be presented to with the intent to expand the scholarship on various facets of horror that proliferates in:

    • Art
    • Cinema
    • Comics
    • Literature
    • Music
    • Poetry
    • Television
    • Video Games
    • Etc.

We invite papers that take an interdisciplinary approach to their subject matter and can apply a variety of lenses and frameworks, such as, but not limited to:

    • Auteur theory
    • Close textual analysis
    • Comparative analysis
    • Cultural and ethnic
    • Fandom and fan studies
    • Film studies
    • Folklore
    • Gender/LGBT studies
    • Historic analysis
    • Interpretations
    • Linguistic
    • Literature studies
    • Media and communications
    • Media Sociology
    • Modernity/Postmodernity
    • Mythological
    • Psychological
    • Racial studies
    • Semiotics
    • Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
    • Transmedia
    • And others

Conference Details

    • Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography, and your CV to by October 31, 2019. Responses will be emailed out starting early November 15 to the end of the month. Final acceptances will require proof of StokerCon registration.
    • Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
    • There are no honorariums for presenters.

Organizing Co-Chairs

Michele Brittany, Nicholas Diak, and Kevin Wetmore Jr.

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Created in 2016 by Michele Brittany and Nicholas Diak, the Ann Radcliffe Academic Conference has been a venue for horror scholars to present their work. The conference has also been the genesis of the Horror Writer Association’s first academic release, Horror Literature from Gothic to Post-Modern: Critical Essays, comprised entirely of AnnRadCon presenters and slated to be released by McFarland in the fall of 2019.

Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2019 is required for to be accepted and to present. StokerCon registration can be obtained by going to There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writer’s Association as an academic member, please see .

StokerCon is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards for superior achievement in horror writing are awarded.
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